Head, heart and hand : studio pottery in Nelson 1956-1976 : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in History at Massey University

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Abstract

This thesis considers the growth of the studio pottery movement in New Zealand
between 1956 and 1976. It uses Nelson as a case study to represent trends that
took place across New Zealand. It seeks to explain the spectacular growth of
interest in hand-made pottery and the surge in participation at both the amateur
and professional level and the effects that this had on the movement.
The people who were involved in the revival of studio pottery were, in general,
relatively well-educated and prosperous individuals who had experienced
changes that had taken place within the New Zealand education system from
the late 1930s. Others had similar experiences overseas. In New Zealand they
were also the beneficiaries of a relatively stable, highly protected and
prosperous economy. Furthermore, New Zealand was subject to the same
influences that impacted on individuals overseas – issues relating to work and
play and the place of women in society.
Overseas experts introduced the pioneers of the New Zealand movement to
pottery traditions based on a confused blend of Anglo-Oriental craft
philosophies. The experts also linked their beliefs to middle-class unease about
industrialisation in the Western world. When the movement reached a level of
participation that indicated it would have a significant cultural and economic
impact the supporters of the imported tradition began a national organisation
and assigned to themselves the role of guardians of the tradition. They
attempted to define what ‘standards’ should be adhered to and, as a result, who
could exhibit their work in national exhibitions. The standards were based on the
Anglo-Oriental traditions that were largely foreign to most New Zealand potters
and the buying public. Potters needed to adapt the traditions to be financially
viable.
This thesis will show that many participants in the movement had no difficulty
selling their work to a public that had an almost insatiable appetite for handmade
pottery. Because the ‘standards’ set by the national organisation were
largely irrelevant to many potters who did not seek national recognition, the
organisation began to lose control of the movement. A second generation of
potters, many of whom did wish to make their mark nationally, were not
prepared to accept the controls of the pioneers so, by the end of the period this
thesis considers, major changes within the movement were underway.